Exhibitions Archive - Page 4

In the foreground is a table surface with recycled, yogurt containers filled with paint, paint brushes, and a pitcher of water. In the background, the artist David Kearns, has his back turned and is painting a mural made up of trees transitioning into fall colors. The mural features a black-haired dog walking amongst the trees and a city scape in the background. The paint style is blotchy and fuzzy with details not completely made out.
A floral collage made with magazine clippings, paint, and colorful paper cut in organic shapes.
A graphic sketch of three artworks. On the left is a framed drawing of a hand, drawing on a piece of paper with a pencil. Above the hand is the word “ART” written out in block letters”. In the center is a grouping of protest signs about gun violence, LGBTQ+ rights and the Movement for Black Lives. On the right is an abstracted U.S. flag with a map of the United States. The map is shaded in to show the ratio of blue and red states.
A tight shot of an Asian man dressed in a white collared shirt, brown suede vest, and brown cowboy hat. He has dark brown eyebrows, a close cut bread, and is wearing stud earrings. Perched on his shoulder, gently propped up by his hands, is a green mold of a cow’s head. He is tilting his head gently with his eyes closed so that his head and the cow’s head together create the shape of a heart.
A blue slide with a white circle in the center. Within the white circle are three, smaller, black circles forming an equilateral triangle. The black circles are connected by blue dotted lines. Counter clockwise starting from the top, the black circles read, “ QUEENS COLLEGE”, “QUEENS MUSEUM” and “QUEENS NYC” in white, uppercase font. In the center of the triangle is another black circle of the same size. It reads “SPQ Social Practice Queens”. The center black circle is connected to each outer black circle with more blue dotted lines.
A close up installation view of Sydney Shen’s solo exhibition, Strange But True. Three, cropped views of rectangular, block sculptures sit on the gallery floor. Each block has blown up handwritten notes, black and white photographs, and documents tacked on. The block on the center has a giant metal key laying on it. One gallery wall is painted black and has blown up projector slides, a magnifying glass and a black pencil with a teddy-bear eraser topper. Two visitors are observing the works.
On a large white wall there are dynamically choreographed groups of drawings with bold black curved lines, some ending with an impact motion representing the indentation of the poke motion, while others end in a cloud-like shape representing echo and bounce. Along the curves are the words Time Owes Me Rest Again in black. The mural playfully reenacts the physical and psychological articulation of ASL , portraying “the motion of the signing hand coming into contact with the signer's body.
Three Black adults sit in chairs forming a circle in what appears to be a classroom. They are dressed in business causal wear and have surgical masks on but tucked under their chins for a conversation. Behind them is a large poster with the logo for the Rockaway Development & Revitalization Cooperation.
Down a hallway, Photographs, news articles and video installations hang on a yellow and white wall with different Caribbean country flags, a rainbow LGBTQ+ flag, and Black Lives Matter flag, hanging from the ceiling in a row parallel to the wall. At the beginning of the hallway is a mannequin wearing a festive, bright colored, colorful, feathered, carnival outfit.
A black, title slide with four pieces of white text. The text shifts orientation from horizontal to vertical, along a “s” shape line on its side. From left to right the text reads: Year of Uncertainty, You, Phase Three, January through February 2022, Synthesize & Reflect, Sintetizar y Reflexionar, Queens Museum.
A white exhibition wall with a series of objects on display. Starting on the left is a Mexican flag fashioned into a dress hanging on a clothes hanger. Centered, is a framed certificate, a framed portrait of Lorena Borjas, and a framed magazine cover featuring Lorena Borjas. On the right is a gold handbell sitting on a white, exhibition shelf. In front of the wall is a long, rectangular display case.
A group of Latinx women pose for a photograph. They are sitting and standing in three rows on a glass stairway above a museum floor. They are each holding up their own embroidery work.
A group of people ranging in age, racial background, and gender pose for photograph in front of a mural. Everyone is dressed in casual fall attire and has a warm expression on their face. About half of the group is wearing masks. The mural in the background is made of horizontal stripes. From top to bottom are the colors blue, white, peach, golden–yellow, orange, and dark blue.
A exhibition room lit up by a slender, wooden light fixture. The light fixture is giving the room a warm tone. On the exhibition floor is dark, wooden panels arranged in a zigzag. Each panel has a unique cut out with a different vessel placed inside.
A white exhibition wall with a mural. The mural has a soft blue background and a bed of orange, blue, yellow, and pink flowers at the bottom. Hovering above the flowers is a smoking gun and four large bullets with the phrase “hurt people hurt people” written across them. Above that is a quote by MLK that reads “At the center of nonviolence stands the principle of Love” in orange cursive.
In the middle is a wooden table with two square wooden benches on both sides. On top of the wooden table are folded maps and a sewage game. To the right is a fake golden toilet across from a vitrine with objects found on Flushing Bay. There is a sign reading Flushing Creek with an arrow next to the vitrine of objects. To the left is a map of Flushing Bay and a table vitrine in front of it with a wooden bench.